Bright Tangerine is out at NAB 2018 with a slew of new products covering everything from Alexa Mini and prototype Canon C200 accessories to a new matte box dubbed the Clash 138. Details below:
Clash 138 Matte Box:
As a Misfit Atom owner I’ve enjoyed its lightweight, gimbal friendly and easy to use design that works with both 4×4 and 4×5.65 filters. Now, we have a newcomer matte box built on the foundation of the Misfit Atom: the Clash 138. Weighing only 177 grams, the Clash 138 can also accommodate up to two 4×4 or 4 x5.65 filters. You can also fit a single 138mm circular filter for polarization.
Just like the Misfit Atom, the Clash 138 is aimed at ENG shooters, steadicam and aerial work.
Titan Arm Quick Release System:
The Titan Arm, Bright Tangerine’s answer to the articulating arm, now has several new accessories including a 15mm rod adaptor (see above picture) for use with 3/8″ or 1/4″ quick release brackets. A optional modification, the quick release system replaces the standard 1/4 or 3/8 ends that ship normally with the arm. Pricing on the new Titan Arm accessories are as follows: 15mm Rod Adaptor ($24.00), 15mm Rod Adaptor ($37.00 for a set of two), 3/8″ Quick Release Anti Twist Bracket ($79.00), 3/8″ to 1/4″ Anti-Twist Adaptor ($39.00) and 1/4″ Quick Release Bracket ($79.00).
Alexa Mini Accessories:
The Alexa Mini now has a full range of accessories including a power distribution module for both V and Gold Mount. The module includes the following ports: 1 x D-Tap, 1x Twist D-Tap, 3x Lemo 2-Pin, 1x5v USB Output, 1x 3-Pin Fischer 24V (Regulated). There is also a single Lemo 8-pin 12/24V input port. Available accessories also include a left and right side cheese plate and a 19mm Quick Release studio bridge plate. The first accessories for the Alexa Mini from Bright Tangerine will begin shipping at the “start of May, 2018.”
Canon C200 Accessories:
Bright Tangerine has also developed a quick release bridge plate, carry handles and accessories that fit the Canon C200 (see above photo). Although, these accessories are still in the prototype phase and additional information on pricing and a ship date is not available.
Don’t forget to stay tuned to cinema5d for more NAB 2018 coverage!

Today we’ll take a look at the cameras used in the Oscar-nominated films in the Cinematography and Best Picture categories. The results may surprise you… or not!
One of the most interesting questions that may strike your curiosity when watching a movie – and especially one nominated for an Oscar – is “what camera was that shot on?” For us filmmakers, when it comes to choosing the right camera, these films can serve as a sort of reference, especially in a time when there are so many cinema cameras, sensors and ultra high-resolution goodies to choose from.
So, we had a look at the Tech Spec section of all of these movies’ IMDB page. Check out the list below to find out what cameras were used for this year’s Oscar-nominated films:
Blade Runner 2049 :Arri Alexa Mini, Arri Alexa Plus, Arri Alexa XT Studio
Darkest Hour: Arri Alexa Mini, Arri Alexa SXT Plus
Dunkirk: IMAX MKIV, IMAX MSM 9802, Panavision 65 HR Camera, Panavision Panaflex System 65 Studio
Mudbound: Arri Alexa Mini
The Shape of Water: Arri Alexa Mini, Arri Alexa XT Plus
Call Me by Your Name: Arricam LT
Get Out: Arri Alexa Mini
Lady Bird: Arri Alexa Mini
Phantom Thread: Panavision Panaflex Millennium XL2
The Post: Panavision Panaflex Millennium XL2
Three Billboards Outside Ebbing, Missouri: Arri Alexa XT Plus
So, what can we learn from this? First, no RED! Not even as a B cam. It turns out that the ARRI ALEXA still dominates the cinema market (excluding the IMAX cameras in Dunkirk), and it’s the preferred camera for many DPs – likely because of its pedigree and color science. Furthermore, the favorite camera here is the ALEXA Mini, a more budget-friendly option than the other ARRI beasts.
Another interesting fact: most of the source formats were under 4K! The most common format this year was ARRIRAW (3.4K), meaning we are still quite a long way from shooting Oscar-winning projects in 8K. Then again, does it matter at all?
Does this data surprise you? Did you expect to see RED in this list? Let us know your thoughts!

It’s that magical time of year when filmmakers flock to Park City, Utah. We’re giving you a brief on the cinematographers who are showcasing their work at the 2018 Sundance Film Festival – one DP at a time.
Lakeith Stanfield and Tessa Thompson appear in Sorry to Bother You by Boots Riley, an official selection of the U.S. Dramatic Competition at the 2018 Sundance Film Festival. Courtesy of Sundance Institute.
DP: Doug Emmet
FILM: Sorry To Bother You – written and directed by Boots Riley
SUNDANCE CATEGORY: U.S. Dramatic Competition
CAMERA: Alexa Mini 4:3
GLASS: Cooke Anamorphic
cinema5D: Why did you choose this particular camera body?
DE: We knew shooting anamorphic on a 4:3 sensor was the best way to go, and I don’t think there’s a better digital cinema camera out there.
cinema5D: How about the lenses?
DE: Cooke Anamorphic. We wanted a fast, modern anamorphic lens with subtle curvature distortions – something not too clean but not super flare-y either.
cinema5D: What was a piece of gear that was really pivotal for you on this production?
DE: Using the ARRI Skypanels and wireless DMX control sped things up and allowed us to be creative on a tight budget and schedule. Same can be said for the RGB Litegear Lite Ribbon.cinema5D: Any go-to glass filtration in your kit?
DE: Tiffen Black Diffusion FX 1&2
Lakeith Stanfield appears in Sorry to Bother You by Boots Riley, an official selection of the U.S. Dramatic Competition at the 2018 Sundance Film Festival. Courtesy of Sundance Institute | photo by Doug Emmett.
cinema5D: Talk a little about your approach to lighting this film in particular.
DE: We let the location and the mood of the scene dictate our approach to lighting. We were lighting with bold colors and with strong contrast, but we didn’t want the cinematography to distract from the characters. That being said, we wanted a stylized visual. Bouncing sunlight with mirrors, white cloth and foam core lent a more natural look for interior and exterior day scenes. For night scenes – such as apartment and bar interiors – colors were chosen with tone in mind, helping support the narrative. The film is dark, with many scenes intentionally lit so that you can’t always see the actor’s eyes or half their face. We felt that the added noise and contrast sometimes rendered an “imperfect” look, and that appealed to us.
cinema5D: Any particular challenges?
DE: The locations didn’t present too many challenges other than the typical issues you encounter: large loft windows and a quickly moving sun, etc. We tried to use the available daylight when possible.
DP Doug Emmet and Dir. Boots Riley. Photo Cred: Peter Prato
cinema5D: Anything new for you on this shoot? Anything perhaps surprising?
DE: Pushing the color saturation and the contrast was a new experience for me as a DP, as many of my films have had a more naturally-lit aesthetic. Not to say the lighting isn’t natural – there are plenty of locations in Oakland, CA that inspired the colorful palette of our film. I found the artist community and crew in Oakland to be such a kind, passionate, and supportive group of individuals. The city’s art and culture really inspired the cinematography choices we made.
Doug Emmet is known for his work as the director of photography on the Duplass Brothers’ Room 104, The Edge of Seventeen, The One I Love, and The Bachelorette. Emmet originally hails from the East Coast and is a graduate of NYU’s Tisch School of the Arts. He is a Union Local 600 cinematographer and a member of the Directors Guild of America.

Pomfort’s portfolio of professional solutions and apps has just grown bigger. PocketControl is an iOS app for remote controlling ARRI cameras from the palm of your hand. Let’s check out the features of this little helper.
Just like the Foolcontrol app for RED cameras, there’s now a solution for ARRI cameras. Pomfort has created a neat solution for remote controlling your favorite camera.
Pomfort PocketControl App
If you are a proud owner/operator/user of an ARRI ALEXA Mini or AMIRA, then this is for you. The PocketControl app itself is currently available for free on the Apple App Store only – no word so far for Android users – but it does require an in-app purchase of $169.99 to unlock the full app. Otherwise you’ll find yourself in demo mode which does offer all the buttons and menus, but only to monitor the settings from the camera. In order to manipulate them, you’ll need to fork over that cash.
Watch the video below to get started with the PocketControl app.
With the PocketControl app and your iPhone/iPad, you can basically monitor and manipulate each and every setting available on the camera itself but from the comfort of your, say, director’s chair. Start/stop the camera, adjusting ISO and shutter angle, playing around with looks, or even dialling in the physical on-board ND filters of the AMIRA is now possible. Neat!
If the camera is sitting on top of a crane or is rigged to a car, this can be extremely helpful.
How does it work?
The Pomfort PocketControl connects via Wi-Fi to your camera and makes use of ARRI’s proprietary Camera Access Protocol (CAP). Once connected, all the camera settings are reflected within the app, and any changes in camera settings will update within the app accordingly. If you’ve purchased the full app, all changes you might make on your iOS device will be transferred to the camera straight away.
Since Pomfort is known for best-in-class color management with their Livegrade Pro suite of tools, and since ARRI is well-known for their superb in-camera color tools, it’s obvious that color management and look creation/tweaking would be a key functionality of the PocketControl app. You can dial in custom looks, tweak them in real time and assess the result immediately (albeit from a monitor, not from within the app).
Pricing and Availability
You’ll need an iPhone/iPad with iOS 9 or newer. The target ARRI camera needs to run on SUP (software update package) 5.1 or newer. As matters now stand, the flagship ALEXA is not supported. We have to wait and see if that’s going to change at some point. The same goes for an Android version of the PocketControl app.
The app itself is free of charge but for the full functionality an in-app purchase ($169.99) is mandatory.
If you want to dig deeper, Pomfort offers some helpful resources on their blog: Getting started – connect to the camera | apply and refine looks from the ARRI look library.
links: Pomfort website | iTunes Store
What do you think? Is the PocketControl worth the price? Let us know in the comments below!

Atomos have today released Shogun Inferno firmware v8.42 for their flagship field recorder. The update for Atomos Shogun Inferno’s software brings support for Panasonic’s new EVA1 and Arri’s ALEXA Mini.
In fact, by introducing complete SMPTE 6G compatibility with the new Inferno Firmware v8.42, Atomos have now enabled audio embedding, timecode and start/stop trigger for any 6G SDI equipped camera or hub/switch.
Atomos Shogun Inferno’s Multiple Connections at the Back
Bug Fixes
The Shogun Inferno Firmware v8.42 also fixes an HLG and PQ Loop out over value gain issue. In addition, an issue where the HDR slider value was not saved when using Auto HDR mode is fixed. Finally, the system start up time has been sped up by 20%.
Atomos Updates
It’s great to see Atomos so rapidly developing and deploying firmware updates at the moment. They only released v8.4.0 back in October, which introduced HLG (Hybrid Log Gamma) support as well as increased frame rate and resolution options for the Panasonic Varicam LT.
Having recently got hold of a Canon C200, which records raw internally (to extremely expensive CFast 2.0 cards), I have a renewed sense of appreciation for the cost effectiveness of my Atomos Shogun Inferno. The relatively cheap SSDs it takes allow a more useable amount of recording time than would otherwise be possible. As Seb discovered in his C200 review back in June, a 128GB Cfast 2.0 card only holds 16 minutes of raw! If we could just get a raw feed out the SDI on the C200, we could capture over four hours of raw on a 2TB SSD. I live in hope!
You can download the latest firmware for your Shogun Inferno from here.

The AXA ARRI is a rig that allows you to mount ten ALEXA Minis in a 360-degree configuration for cinematic-quality video immersion and simultaneous camera control.
We met with Stefan from ARRI at Cine Gear 2017, where they were demonstrating their latest collaboration with Radiant Images: the AXA ARRI.
The rig they had on display featured ten ARRI ALEXA Minis mounted on the AXA frame designed by Radiant Images. All ten cameras were outfitted with Canon ultra wide zooms, and their output was routed to a monitor that displayed all ten feeds simultaneously. Using higher-quality cameras like the ARRI ALEXA means a wider dynamic range and better low-light performance, particularly helpful for challenging exterior 360 shoots.
The whole system is based around the beta version of their latest SUP 5.0 software, which allows you to set one master camera to which the other nine will be slaved. This means that a single adjustment of just one knob or switch will control settings across all ten cameras simultaneously, allowing you to quickly change iris, white balance, exposure index, and even ND filters across the whole system. Needless to say that for 360 video — where you want to try and achieve a smooth and seamless stitch between videos — being able to quickly replicate the exact same adjustments across all cameras is a great advantage.
The price for the complete AXA ARRI? Around the $600,000 mark, which of course makes it more of a rental item. For more information regarding hiring the AXA frame, please visit the Radiant Images website.
The AXA ARRI is yet another testimony to the evolution of 360-degree video. Whether you are in the camp that thinks its the future, or whether you think its a passing fad, the reality is that the platforms currently available allow for an exploration of this new format whatever your budget.
What kind of project would you shoot if you had access to an AXA ARRI rig? Let us know in the comments below!

Bright Tangerine are marking NAB 2017 as their full venture into the camera accessories market. They are unveiling a host of new products, including armors with in/out interfaces for the ARRI Alexa Mini and RED camera range, a compact follow focus in the Revolvr Atom, as well as new lens supports and Titan Arm accessories.
The most significant announcement from Bright Tangerine is their shell-like support for the ARRI Alexa Mini and RED cameras.
“These accessories will offer camera protection, triggering functions, multiple mounting points, signal splitting and powering options and a plethora of inputs and outputs.“
We’ll disclose more when we visit them at NAB for a catch-up video, but it looks as if these cages will offer further power and signal outputs (SDI, D tap) as well as top cheese plate, top handle, V-lock power module and 19mm and 15mm rod support.
They cling quite nicely to the CAD design cameras; it will be interesting to see how they address the rear media bay on the Alexa Mini.
Also on show will be the Revolvr Atom. Bright Tangerine released their full Revolvr follow-focus system earlier this year, with the Atom offering a more compact solution.
Off the back of their follow focus venture comes a new series of lens supports for 15mm and 19mm rod systems.
A small announcement at the bottom of their PR for NAB is a range of new twist and rod adapter accessories for the Bright Tangerine Titan Arm.
As a user of the Titan Arm, I warmly welcome this. I had already DIY-rigged mine to host 15mm studs, as it is much quicker and safer to use over ¼” 20 threads.
Lastly, there’s a new Blackhole Mini, designed for lenses ranging from 41-114mm diameter.
Bright Tangerine will be exhibiting all of this at NAB this weekend.

Having dilemmas with the ARRI Alexa Mini audio? Are you struggling with having Line level input as your only audio option?
The Beachtek DXA-Alexa is an audio module designed specifically for the Alexa Mini that converts dual XLR to Line level output. I was sent a pre-production unit to check out.
Anyone who’s used an ARRI Alexa Mini intending on also recording sound will know its limitations: it has a single Lemo input on the front, and some gain settings buried in the menu.
Not to worry, though. Wooden Camera do the cool little A-Box that converts that Lemo input into dual XLR. Sorted, right? Not so fast.
You still need to feed it a Line level input, and here’s where many will struggle. Few audio sources provide this level output, which is why you usually have to go through another sound device, such as your soundperson’s mixer.
Having a soundperson plus mixer may not always be an option, and that’s then your options are limited without your rig getting pretty hefty.
Beachtek saw the need for a product to fill this need and recently announced the DXA-Alexa audio module, a sleek little box that receives XLR audio (mic level or providing phantom power) and outputs Line level via 5 pin XLR.
Beachtek sent over a pre-production DXA-Alexa, which I put through its paces during a recent shoot abroad that required a single op camera and sound.
Features of the DXA-Alexa
The DXA-Alexa receives 2 channels of audio via standard 3 pin XLR. Both can be powered independently by 48v phantom power and both have a high and low gain switch (60db and 40db modes respectively).
Neither channels have a metering display, but instead offer a tri-colour LED that works in the form of a traffic light system (green/amber/red) to meter audio. More on this later.
There are three physical pots on the top of the module for adjusting the gain of each channel, as well as the volume of the monitoring output.
The headphone output is a 3.5mm jack on the side, but there is also a 3.5mm jack for audio return from the camera. You can select whether you listen to the output or return via a switch. Additionally there’s a stereo and mono mode for choosing your headphones output options.
Lastly, it offers a 3.5mm unbalanced auxiliary stereo out which I unfortunately didn’t have time to test this. Power is received by 2 pin lemo that has a voltage range of 11-18.
Physical Features
The module is well built, and is clad in a carbon-fibre-look to match the aesthetics of the Alexa Mini. It weighs 374g (0.89lbs). Full spec card here.
All buttons and knobs have a satisfying feel to them, the power button recesses nicely and the pots on top have a half click resistance to them. The gain switches feel solid too.
Connectivity
The DXA-Alexa comes with no cables, so you must spec it for power and output yourself.
The 11-18V range on the power input is useful, placing a standard V-lock battery system right in the middle. It means a straight 2-pin Lemo to D-tap will get you going.
I bought a Hawk-woods LA-69A, and here’s a US non right-angle equivalent.
The thin and slinky cable with a right angle connector provides a nice setup, as this way your cables will pop out of the dumb side of the camera, which is why the right-angle connector was important.
The next consideration is audio output from the module to the camera. Wooden Camera has made a specific cable from 5-pin XLR to Alexa lemo. Unfortunately, this wasn’t available for my trip, so I picked up an off-the-shelf 5-pin XLR to dual 3-pin XLR tail, then went through a Wooden Camera A-Box to get the XLRs into lemo for the camera body.
Both will do the job, but the former is a more concise way of doing it.
Mounting It
The Beachtek DXA-Alexa has three ¼” 20 threads on the bottom for mounting only. I found the best way of adding it to the Alexa Mini rig without things getting too bulky was to simply thread a 15mm mount on the bottom, and stack the module between the v-lock plate and the camera body.
The rig becomes a little longer, but I felt this was more streamlined that side or top mounting.
The included cradle makes use of two of the threads on the bottom. It gives you a couple of 3/8” screws on the side, as well a few ¼” 20 threads on the same side and one on the bottom.
Additionally, on the opposite side is an array of smaller threads that adhere to the quad pin array that ARRI uses on the top and bottom of the camera. This means you can use the cradle with any existing ARRI accessories, mounting it between your camera body and handle as pictured, for example.
Operation
The Beachtek DXA-Alexa works exactly as one would hope. At first glance, you may ponder over the lack of metering displays and primitive traffic light system for audio levels.
However, the camera itself displays audio level info, so you won’t miss anything more substantial in terms of on-board meters.
To set it up you simply send a tone through the Beachtek DXA-Alexa (or consistent audio level if you don’t have access to a tone generator) set the gain level in the camera menu to your desired level (I went with a gain level that provided -18db on the meters), and you’re set.
To then make any further level tweaks you then adjust the pots on the module itself.
I found that I was using the least amount of gain from the camera itself by doing it this way, but as a result you require more gain from the Beachtek DXA-Alexa, and often the LED meter reaches red.
You could counter this red light by increasing the level of gain in camera and reducing the level on the Beachtek module. However, I trust the amplifiers on a dedicated audio device more than those on a camera that are usually added as an afterthought, so I didn’t worry too much about seeing a few red blinks.
The tri-colour LED scales operates at:
Green -40dBu to 16dBu
Yellow -16dBu to +4dBu
Red Over +4dBu
Summary
I feel the DXA-Alexa is a must-have accessory for those who regularly record sound on their Alexa Mini and work without a soundperson.
Could it be smaller? Perhaps. Half the depth with outputs and pots on opposite ends could be nice, a form factor that would have me consider a top mounted option far more seriously.
The size of XLR ports is restricting here, substantially smaller would require specific breakout cables that can be less ideal.
Could it be cheaper? Only Beachtek could tell you, but it does seem like the typical ARRI tax applies here.
If you are looking for a cheaper option, you could consider the Beachtek DXA-SLR. This is a similar device originally designed to sit between your audio kit and DSLR. However, this doesn’t provide a true Line level (-26dBu at 0db on the VU meter, I’m told), so it would involve boosting the gain in-camera, and thus compromising the signal-to-noise ratio.
It also can only be powered via 9v batteries, and would require a ¼” jack to lemo breakout (which doesn’t exist, to my knowledge) so generally a less than ideal system for the Alexa Mini.
It’s a shame ARRI never made further efforts to offer more comprehensive audio solutions for the Alexa Mini. I’ve read it was never the intention to include anything at all, but with spare space on one of the boards they thought why not lob something in there for good measure.
True or not, we’re left with a hurdle to jump in getting Mic level to Line level in a concise way, and I feel the Beachtek DXA-Alexa does a pretty good job of doing that.